Oliver

A production for all – young and mature, cameos and leads and even a real dog! Travelling away from their home village of Stonegate, cast and crew took Wadhurst Village Hall by storm and it was wonderful to see the ‘Sold Out’ sign up. What an achievement!  The Hall was atmospheric on entry, with Stephen Evans F of H – lights low, curtains removed, open set struck and configured in cabaret style with tables of 8 beautifully laid – dark with lace runners, a lit lantern, bottle green napkins, a pile of genuine Dickens books and a pheasant’s feather. Laid up for the interval beautifully served afternoon tea – delicate sandwiches and cake plus a cuppa just perfect, with Rachel Walters heading Catering – co-ordinators Lynne Fraser/Elspeth Hill and an army of volunteering uniformed waitresses.

Set for a smallish stage was well designed, opening with a benched Workhouse. ‘The Bridge’ was constructed by Clive Hodder, Andy Payne and Nick Jeal, with excellent artwork from Anne Everall giving particular detail to the London skyline, front down corner provided a hinged flat opening into The Workhouse Parlour and, with a change of decor, to the Brownlow house. Whilst the other just a sign and open counter and a large black coffin suitably lined in purple gave us the Sowerberry Funeral Parlour. A central tunnel and addition of a settee, large chest, washing line hanging colourful hankies for Fagin’s Kitchen. The Workhouse tables became the ‘Three Cripples’ pub and with dry ice and atmospheric lighting design – John Bush/John Clark at the helm with Gordon Fraser and Rosie Aylward responsible for sound, we were engulfed.  Every word of script and lyrics was audible and the sound effects perfectly timed and realistic.

With Robin Hare as MD, the 10-piece orchestra played with perfection the wonderful melodies.  Singers were word perfect, confident and enthusiastic, they had fun, showed emotion, were harmonious - a combination of talent but great leadership. The children must be congratulated on their characterisation throughout, for concentration and teamwork. Jane Spurr, rehearsal pianist too must be mentioned for with a cast of 56 this was a huge undertaking and the additional expertise of Voice Director Kate Welch, who also played a convincing Mrs Corney playing opposite a well-cast Nick Brown – Mr Bumble. 

With all SADS shows, attention to detail is paramount and this applied too for the costuming of this period production. Colours were subdued but with splashes of elegance and colour – the mustard tailcoat of Brownlow, the elegant blue shot gown of a Lady, the tiered Rose Seller’s frock edged with red to match her red roses, the floral interior of Fagin’s coat with long waistcoat, the shades of red for Nancy as examples.  Sourced from various suppliers, Nicola Dealtry and Vicky Sedgwick must be congratulated. Hairstyling and makeup, footwear and headgear, with the many props adding finishing touches. 

With 22 musical items I cannot mention them all – each executed with aplomb. The children playing their parts were exemplary, the young ladies too, the ensemble each with their characters, the smaller named parts, cameo parts, the ‘Who Will Buy’ team, a little changed for the matinee, blending well. Nick Jeal performing the part of the evil Bill Sykes, with a very well-behaved Bullseye, with Stephanie Cogdell taking on the part of Nancy – full of emotion. Oliver for the afternoon was 11-year-old Joseph Payne gave a delightful performance – a moving ‘Where Is Love’ and picking a pocket rather well too! A touch of comedy came from young Dodger, was cheekily played  by Harry Sedgwick.

Katie Dahlstedt had the whole company moving with precision with stage combat devised by Amy Floyd working well. The part of Fagin is probably the biggest challenge for an actor, but praise must go to Stephen Moir who took on this role, who both looked and felt this interesting character. The thief came through, the lure of sparkle, the miser, the taking in of street urchins giving him a softer side, interaction with Nancy and Bill, the slight Jewish accent, his numbers, all covered in his performance very nicely.

Under Susan Bowie’s direction, cast, orchestra, and unsung heroes gave their all and by the reaction of the audience they agreed.

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